[1] As of late 1997, Rouvas had signed a new contract with Greek record-label giant Minos EMI in favour of his former PolyGram Records.

Although many attended the concert and it was a commercial success, and Rouvas was honored with the International Abdi Ipekçi Prize for his co-operation and effort, fighting broke out into the audience leaving many youth wounded.

Makis Matsas, chief executive officer of Minos-Emi Greece along with one of his A&R manager, Vangelis Yannopoulos, take the odds and signed the artist.

After having obtained the "go on", he then turned to another Vangelis (Konstantinidis), a well-known lyricist he had also worked with on other golden albums by prominent Greek artists (Dantis, Stefanos Korkolis, etc.).

[3] Rouvas' collaboration with Konstantinidis would continue on to future albums (with songs like "Andexa" - an hymn and another production of Vangelis Yannopoulos, and composed by newcomer Stratos Diamandis - a sound engineer assistant on this single), also achieving success, while the release of the single would begin his collaboration with rock/folk singer Stelios Rokkos, who wrote the song "Tha Mou Pari Kairo".

Rokkos came to work for this album as a good friend of Sakis, and declared himself to be a big supporter of Rouvas, as he constantly promoted him during his time of receiving very harsh treatment by the media.

[2] The release of the single, which was his first new material since 1996's Tora Arhizoun Ta Dyskola, proved to revive the artist's career upon returning to Greece, with high sales and sold-out concert performances.

A good example of this is the song "Tha Mou Pari Kairo" which contained an Eastern oriental flavor, brought by the skills of Rokkos who is known for infusing the two very different genres of rock and laïka.

"Poso Thelo Na 'Xeres" is a serious ballad, while "Ipirhes Panda", a power-ballad with jazz elements (both written by Giorgos Theofanous), after the release of the full-length album would go on to become one of the artist's most-recognizable songs.

In another recurring scene, Rouvas' is lying down while shirtless while water continuously splashes over his torso, while the camera angle is right above him, making it appear as he is being trapped by a glass effect.

He then picks up a golf club and shoots the ball, while afterward, he is brought to lie down while the same woman stands over him, taking numerous polaroid photographs while he poses both clothed and in a bathing suit.